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FATMAN🦇: Este es el resultado del taller creación de personajes 3D de la #UNC 🤙 dictado por el profesor @orlandoo3d . . . Blocking y esculpido #blender Retopología #topogun Texturas #SubstancePainter Render #Marmoset https://www.instagram.com/p/CJ5LigagTfT/?igshid=1b5yf1jrn6kr4
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Retopology of Sol Invictus greatsword model
https://cghow.com Follow 👉CGHOW👈 for more posts Dimensional Tailor by Grigory Lebidko @ipostscriptum 2d & 3d Concept artist / Art director ps: and here you can find some more wips if you want to: https://forums.cubebrush.co/t/art-war-3-3d-villains-dimensional-tailor-grigorylebidko/6111/3 #zbrush #photoshop #maya #topogun #substancepainter #substancedesigner #keyshot #marmosettoolbag #zbrushtuts https://www.instagram.com/p/BswZYW-l4U3/?utm_source=ig_tumblr_share&igshid=14hbzo714qeml
War Hammer by dongwoo kang
War Hammer by dongwoo kang
Dongwoo kang 3d character Seoul, Korea (South) mrsky91.artstation.com
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Asset Design UV and Hand Painting Assets
Retopologizing We were given a complex model to retopologize in TopoGun. The same tools as maya to transition around the model, it was simplifying the polygons down, so it can be used as an asset for a game. When we were finished we exported it as an OBJ and opened it in maya to UV map.
Uv Mapping You upload the new low poly model into maya, selecting the model and going into the uv editor. Selecting components, to make different sections for the Uv map. You have to make sure you resize all of the uv components, so they fit the map. Export as an OBJ.
Then we use xN to generate a map, by uploading a high definition mesh and a low definition mesh, when doing so making sure ambient occlusion is on.
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Finished this dude a couple weeks ago. My final character for my final school project. He's definitely got that rock n roll/ physchobillie aesthetic.
After learning how to texture a finished model in Substance Painter, we moved on to preparing a scuplted model for painting by retopologising, creating UV maps and projecting the high-poly model onto the low-poly. Manually topologising in Topogun was a long and tedious process, but it did allow for fine detail control of polygons. After we had half of the model topologised, we brought it into Maya to create UVs for it, and then mirrored the half so that we had a complete UV’d model. The last step was simply projecting the high-poly details onto the low-poly model.
This dagger required TopoGun, zBrush, Maya and Substance Painter. The dagger needed less polygons while retaining it’s detail, so after it was created on zBrush, it was placed into TopoGun for retopologising in order to make it game ready and have a smooth animation. It was tricky at first, but tools like the Bridge tool made it easier and faster to complete.
It was then taken back in zBrush so the low poly version can have the same amount of detail as the high poly as well as keeping the poly count low.
After this, we used Maya’s UV Editor to cut the dagger into it’s parts, for example the handle.
We went back into zBrush and projected the UV maps from the low poly dagger to the high poly.
After that’s done, we started to bake on Maya... except the Vray plugin wasn’t working so we had to skip this step. We also had to colour the different parts of the dagger in Maya so the parts can be easily textured in Substance Painter.
We continued onto Substance Painter and began painting the dagger. These are the only screenshots I took because... I’m dumb. These screenshots show:
- Playing with generators and adding blood splatter
- Dagger in crap colours for better texturing later on
- Baking in 4k... which only wasted time and didn’t change much
- The dagger with/without glow
- Orc clan logo created in Photoshop for stamping onto the dagger
